“After graduatingin history-studiesbalanced with thepractice of music inmy city,Burgos, I moved to London whereI trainedin variousworkshops and in theCity of London Polytechnic.In 1992 Ireturned to Spainand have sincebeen workingin construction andrestoration ofhistorickeyboards.”

“… In recent years, I have been increasingly busy as a harpsichord technician, tuning and maintaining instruments for institutions and private clients alike. My expertise in instrument care led me to construct my own Italian-style harpsichord based on a museum drawing, an ambitious project that I successfully concluded in November 2009. …”

“Kenneth Tickell & Company are a small firm of craftsman Pipe Organ Builders. We build new organs to individual contract, ranging in size from portable continuo organs to large church and recital instruments. From time to time we also undertake historic restoration work.

Kenneth Tickell established his first workshop in 1982, moving to larger premises in 1986. Ten years later the business moved again, to large modern premises at Rothersthorpe Crescent which have excellent facilities for building and restoring organs of all sizes. We currently have a full time staff of nine craftsmen organbuilders, and a number of part time associates. …”

“The 68-stop four manual and pedal organ in the Church of St Ignatius Loyola, New York is the largest mechanical action ever to have been built by a British builder. It stands some 44 feet tall on the west gallery of this fine Manhattan church and took almost two years to build and install. This instrument embodies all the principles of excellence which are the hallmark of a Mander Organ. Based on the French Romantic organ of the mid nineteenth century, it has proved to have exceptional versatility. The case is an original design and is built of French oak from trees planted about the time of the Revolution. The sensitive suspended key action which employs purely mechanical couplers has delighted many organists.”

“The firm of Robert Goble and Son, based in Oxford, have for 60 years produced individually built harpsichords, clavichords and spinets for players and institutions all over the world. Our wide range of models is the result of study of the 17th and 18th century harpsichords in the museums and collections where they are preserved.

Great care is taken in the choice of traditional timbers and stringing materials in order to approach as closely as possible the tone quality of the original instrument. The decoration and colour of the examples illustrated can be altered to suit individual requirements, and further options can be provided, such as painted soundboards, alternative key coverings, marquetry and inlaid decoration.

Visitors are welcome to the workshop where these details can be discussed; also a wide range of harpsichords may be played in our showroom. We are pleased to undertake further individual commissions on request.“

“ Renée Geoffrion, born in Montreal, began playing the piano at the age of four. After studies at the Conservatoire de Montréal, she went to France where, in the years 1985-1987, she pursued lessons in interpretation, as well as training in piano tuning.

Following her return to Canada, she obtained a Bachelor's degree in piano interpretation with high distinction from McGill University in 1991 and a master's degree from the University of Montreal in 1993. Returning to France, she studied fortepiano and clavichord with Patrick Cohen at the Conservatoire Supérieur de Paris (CNR) until 1998.

Since 1992, when she completed a study on the traces of temperaments in Mozart's music for fortepiano, Renée Geoffrion has developed a passion for early keyboard instruments. Her enterprise « Una Corda », based in the Limousin region since 1998 at the invitation of « L'Ensemble Baroque de Limoges », restores and builds pianos, fortepianos and clavichords.

Renée Geoffrion devotes herself to the promotion of the clavichord. She is active as a builder, restorer and as a performer, as a soloist on clavichord, forms the duo « Alliance Contre Nature » with Louis-Philippe Rivet at the electric bass and plays four-hands with Guy Campion. In April 2002, she registered her invention, the electro-acoustic clavichord and was granted a patent in July 2004. “

“With an extensive background in repairing and tuning the "modern piano", Edwin Beunk started his own workshop in 1981. Johan Wennink joined forces with him in 1985. Their ardent interest in the fortepiano resulted in a specialization in this particular field. In 1992 Ben Kamphuis and Carolien Dopheide joined the team. Today they have a lot of experience in the restoration of all predecessors of the modern piano: from the Viennese 'Hammerklavier' from Mozart’s time up to the later pianos of the Brahms era. But also many an instrument from London and Paris - the other piano-building centres of former days - went through their workshop before starting a new life in the hands of musicians all over the world.

Restoration is either commissioned by clients of their own instruments or carried out for buyers of pianos held in stock.

Edwin Beunk built up a collection of antique pianos from the period 1780 up to 1870, all instruments that relate to the pianos of the important composers. Therefore there are no giraffe pianos, down striking instruments or square pianos.

Instruments in the collection have been used in more than 170 recordings. They are also available for concerts.”

“A dedicated resource guide for the restoration enthusiast who is looking for information on restoring the early square piano!

I confess, doing biographies on yourself was never in my comfort zone, and I attached the material below from the standard issue I use for board seat web pages and speaking engagements, with the bit about pianos thrown in for the benefit of this particular site. But in general, I became interested in early keyboards while still in college, having encountered a kit clavichord that a physics professor had made, and subsequently bumping into the extraordinary pianist Raymond Dudley who was gracious enough to help properly introduce me to the world of the early fortepiano. A kit-built Zukermann Flemish harpsichord in 1980 and conversations with David Way sealed the deal, but with the advent of the internet, the exposure to early pianos and English square pianos really took me to a new level. I have been actively building copies, and researching and restoring the early antique pianos since 1998, making me a novice yet. Paul Polletti has stated that he did not begin to really understand the builders art until about his 15th fortepiano, and in that I concur. Once I have my 10,000 hours in, I might know something about the subject. Until then, this site works best when I hear from those of you out there who have paid your dues. For you I make available these pages, to record what we know about the technology of early pianos, and particularly those early squares!

“The Organ Clearing House was founded in 1959 for the preservation of pipe organs which need new homes. Our extensive list of distinguished vintage instruments provides our clients with an attractive choice less expensive than the purchase of a new pipe organ. We are typically able to provide complete instruments at approximately half the cost of a comparable new pipe organ.

In addition, we are equipped to provide a full range of services including assessment and consultation, dismantling, packing, and shipping, erecting and installing organs.

The contemporary world of church music offers many artificial substitutes for pipe organs to be used for the musical leadership of public worship. We at the Organ Clearing House suggest that there is no real substitute for a pipe organ, and we maintain that pipe organs are frequently available through our resources for half the cost of an equivalent new instrument. Often, a church can purchase, renovate, and relocate a pipe organ for the cost of an upscale electronic substitute. And always, a professionally installed pipe organ will outlast those substitutes.

Even modern pipe organs are built using ancient principles. Centuries old instruments are in regular use throughout the Christian world, proving that obsolescence is evas ive. Well maintained, thoughtfully used pipe organs do not become doorstops! ..“

“Martine ARGELLIES has been a harpsichord maker since 1981. An enthralling, wide-ranging trade encompassing woodwork, acoustics, history and decoration, it is to teach the wood and iron how to sing and to do so, we must learn from the past how these sounds were born. Adding to the pure electrolytic iron of our century all the impurities spewed out by the blast furnaces we obtain the soft iron of the harpsichord strings. We train the ear and the scalpel towards the plectra ready to pluck the strings.

Many musicians, from the beginner to the professional, have already chosen these instruments. Three of them equip the Bastille opera in Paris. (200 harpsichords completed). ..”

“The building of keyboard instruments began over 300 years ago. The development started with the organ and the Harpsichord, continued through the pianoforte, and reached its high point with what today is known as the modern grand piano - which remains until now virtually unchanged. (The Golden Years of grand piano construction were between 1825 and 1925).

Grand pianos belong as much to the appreciation of art as the works of Leonardo da Vinci, Rubens, or an authentically restored historical building, all of which have both high artistic and material value. Recognizing this has given me the exciting idea to create a renaissance of antique instruments for the pleasure of both art and music lovers.
An antique grand piano, more or less 100 years old, presents a unique form of aesthetics, both in music and appearance as well as an instrument and as the focal point of a home. When one considers how many famous pianists or passionate piano players have already played on one or another of these grands (and how many are yet to play upon them), it is imperative to save these magnificent instruments from decay and to give pianists and their entire surroundings the joyous gift these pianos can offer.

With this conviction in mind, Palace Pianos has for the sale exclusively of grands that have been found mostly in their original magical conditions, maintaining their original tone quality. Every year more than 50 pianos are sold world wide and we feel it is our duty to follow the 19th-Century motto: Build good instruments and you will never have to worry about selling them. ..“

“Akio Obuchi started harpsichord building in 1969. After visiting museums and instrument builders in Europe in 1975, "learning from historical works" has been his fundamental attitude of instrument making. He makes replica of extant instruments or new instruments within the categories with period and countries. He always keeps tone characters of finished instruments in mind through the entire proecess of making instruments. Since the first experimental Geigenwerk was made in 1993, he cannot give-up his dream of keyboard instrument with which the player can control tone pitch and dynamics, he continuously challenges making mechanically bowed keyboard instruments.

He started violin lessons at seven years old. Through his experience in playing the violin in symphonic orchestra, chamber ensemble, and baroque consort, his interest buildup more on period instruments, and studied baroque violin with Keiko Watanabe, since 1984. He is performing concerts with his friends in churches and other places.

In 1971, he received MS degree in mechanical engineering from Nihon University. His working career started with research and development on electro-acoustic transducers at Pioneer Electronic Corp. Then, moved to Schlumberger Oilfield Services Inc. to further develop his professional career, contributing in R&D programs on acoustic measurements for oil and natural gas explorations. After working several years for Vodafone Co., Ltd. he resigned in 2004. Since then, his time is fully dedicated for research and making historical keyboard instruments.

“Martin Goetze and Dominic Gwynn set up the firm in 1980 to help revive the interest in the classical tradition in British organ-building, to revive interest in pre-Victorian British organ and choral music, assist congregational singing and provide a suitable instrument for modern liturgies.

• we make new organs in the classical British styles, using traditional materials and manufacturing techniques.

• we make chest and chamber organs in classical British and other styles for use by musicians in the Early Music world, and to encourage the use of appropriate organs in recording and concert performances.

• we restore historic organs, trying to preserve as much of the original organ as possible. ..“

“Mario Del Grosso began his activity as an instrument builder in 1980, subsequently attending courses by Grant O’Brian in 1982 / 83 and Christopher Clarke in Antwerp. He brought his attention especially towards the construction of spinets, virginals, and Italian, Flemish and French harpsichords. In 1987 he completed the integral construction of a copy of a fortepiano by A. Walter conserved at the Nurnberg Museum, first in Italy. He has combined his work as a builder with restoration work performed on harpsichords and fortepianos of historical prestige held in private collections and museums. While on tour in Austria, Hungary, Spain, Denmark, Norway, Sweden, the United States and Canada, M. Del Grosso has been fortunate enough to carefully study prestigious instruments kept in their respective museums, analysing various construction methods and details and exchanging facts and viewpoints in numerous encounters with European and American instrument makers. Mario Del Grosso has given summer specialisation courses on the construction and restoration of harpsichords, and conferences on keyboard instruments, taking part in numerous festivals and expositions, such as Stresa, Cervo, Pieve di Teco, Urbino, Antwerp, Moneglia and Perugia. He also plays harpsichord and fortepiano as solo, in various ensemble of early music ensemble and with singers, in numerous concerts in Italy and other country making TV recordings and compact disks. He started his study at the Conservatory of Genoa graduating in Piano and Harpsichord, finishing his preparation with David Collyer, Aline Zilberajch and Gustav Leonhardt.“

“This website is posted by Michael Cole, who has a workshop in Prestbury, under the Cotswold escarpment on the northern fringe of Cheltenham.

It is intended to give you information about the kinds of instruments that I have been making and restoring since my first reproduction instruments were made in the early 1970s.

Ten years earlier, like many others, I was inspired by Raymond Russell's excellent book The Harpsichord and Clavichord which he modestly subtitled 'a preliminary survey'. For those of us who were accustomed to 1960s harpsichords, made by commercial piano makers using modern designs and materials, the instruments shown in Russell's photographic plates were utterly beguiling. A few years later came Frank Hubbard's Three Centuries of Harpsichord Making, which was very strong on accurate historical source material, supplemented by some excellent technical drawings made by Hubbard's father. ..“

"Since 1991, the R.M.Sevillano workshop makes harpsichords, spinets and clavichords.
Our instruments quality, guaranteed by the judgement of well-known specialists, is based in the blending of two principles: getting a quality sound with a light, solid and precise mechanics. " Visit website for more information. (ed.)

"... I'm Herwil van Gelder. I live in the northern village of Groningen Warfhuizen where my instrument workshop is in the former village school.
Since leaving 15 years regularly newly created harpsichord, clavichord, organ and sometimes even related instruments like the lute. Also maintenance and restoration have been important activities. On these pages I put in brief my vision of building and restoration of baroque instruments.
The instruments that I construct are regularly used in CD recordings, such as the CD's' The Complete Works of Keyboard JP Sweelinck '(label: NM Classics 92119) and the Orland Lassus / Chansons (RIC 154149). They are also often live to hear in many concert at home and abroad.
I invite you in my workshop to my own instruments to play and my practice to learn. ... " (Google and editor translation) Visit website for more information. (ed.)

"My musical and cultural interests and the collaboration with friends who are musicians have lead me at firs to manufacture Celtic harps, afterwards to be interested and gradually to develop a passion for ancient instruments, in particular harpsichords and spinets. Thus I have started my activity as an harpsichords maker, supported by study, professional education and an intense cultural and technical research, pursued also as a self-taught person, among the collections of ancient musical instruments of European museums. In 1991 I used my expertise as professor of restoration of ancient keyboard instruments in the classes for training specialists of restoration at the Piano Academy of Imola. The teaching experience was enriching and rewarding from both the professional and the human points of view but I gave up additional assignments to devote all my time to manufacturing and research..

From 1988 to 1994 my instruments were sold by “Il Laboratorio Musica ed Antichi Strumenti” of Milan, an organization that in those years was active in the music field (exhibitions of ancient musical instruments, restoration, classes, concerts…).

From 1995 I have looked after the sales personally and with satisfaction. This allow me to have a direct relationship with my clients, so as to comply with their specific requests and to give them a continual attention aimed at their particular technical needs.

Along the years I have verified, with professional proud, that my clients recognized the patient and skillful care of the working process, the worthiness reached through experience and scrupulous work, the very good quality-price ratio.

In this way collaborations that are going on since years were born and often they have became friendships founded on reciprocal esteem and the direct and clear understanding that is established between people that work with passion and dedication.

Some of my instruments have been played for CD recordings. Especially Master Marco Vincenzi has recorded the “Opera Omnia” of Bernardo Storace with an Italian instrument of mine, copy or “Grimaldi 1697”. ... " Visit website for more information. (ed.)

" Harpsichord, virginals, spinets and clavichords based on the historical traditions and European national schools. Entirely hand made by the author , starting from the technical drawings to the decoration.

Making of my instruments is based on the classical tradition. This means that, even if inspired by the national schools of harpsichord making or by single makers of the past, my instruments, generally, are not close copies of any historical instrument.

Anyway, my wiews on remaking instruments is inscribed within the rules of this craft as we know reading the old treatises, examining the survived instruments of the past and studing the tradition of this art between XVI and XVIII centuries. ..." Visit website for more information. (ed.)

"From muskies to marlin now anyone can make their own single strand haywire twist leaders stronger than the pros. Our E/Z Twist is available in three sizes and comes complete with easy to follow instructions. For 3-8 gauge wire (.012 - .020 dia. wire) or 32- 86 pound test. " Can also be used to make the helix loops on harpsichords (at the hitch pin). There is a video that accompanies the item on the site's catalog. Visit website for more information. (ed.)